GENERAL ARTICLES (also includes editing in general)

• Dos and Don'ts of screenwriting [Michael Rabiger]
  (includes: the problem of the talky script, the passive central character, unconvincing dialogue, the film in which nothing really happens, wooden performances)
• How do I write a script? [Brad Mirman]
• Rules for Writing Articles [D.G. Hembroff (FidoNet Writing FAQ)]
• Foundation Principles of Storytelling [Bill Johnson]
  This essay discusses 16 principles I believe underlie the creation of a dramatic story.
• Understanding the Process of Storytelling [Bill Johnson]
  The process of constructing a story from idea to premise to movement to plot to fulfillment.
• Rules for Self-Editing [D.G. Hembroff (FidoNet Writing FAQ)]
• Things to edit ["Jackdaws" CROW]
• Intimacy and transformation [Kevin McCarthy]
• Seven suggestions for writing a novel [John Ross]
• Story Elements - What will keep your readers turning the pages. [Crawford Kilian]
• Miscellaneous Tips for Writers [Michael Banks]
• Other Writer's Tips [SCRNWRIT FAQ]
• Plot and Story [Richard Michaels]
• Conceptual Framework [Richard Michaels]
• The Three Stages of Editing [The Write Page]
• Story beginnings and endings [Julia Ecklar]
• What is a "Story?" (SF or otherwise.) [S. Andrew Swann]
• Some General Screenwriting Guidelines [Brad Mirman]
• 10 Ways to Thrill and Manipulate Your Audience, Part 1 [David Trottier]
• 10 Ways to Thrill and Manipulate Your Audience, Part 2 [David Trottier]
• Screenwriting advice [Dale Launer]
• Guidelines to Good Writing [D.G. Hembroff (FidoNet Writing FAQ)]
• Self-editing [Lori Handeland]
• Self-editing techniques [Vivian Coril]
• Cast Your Movie [Alex Epstein]
• Pitch Your Movie To Yourself [Alex Epstein]
  

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PLANNING, PREPARATION, OUTLINING

• Preparing before you start writing [Carolyn McKay]
  Includes: Organizing source material; theme and purpose; outline; first draft; revising'; point of view; persona; allegory, realism and symbolism
• planning stages for writing a screenplay [Mitch Moldofsky - from Screenwriters & Playwrights Home Page]
• Before you get started [Brad Mirman]
• Getting started [Brad Mirman]
• "How To Outline Your Novel In 30 Minutes" [Shannon Turlington]
• Blueprint for Writing a Novel [D.G. Hembroff (FidoNet Writing FAQ)]
• When to Start Writing [Playwriting Seminars]
• Outlining: Why Not [Playwriting Seminars]
• 7 Steps to a Solid Screenplay, Part 1 [David Trottier]
• 7 Steps to a Solid Screenplay, Part 2 [David Trottier]
• What you need to be a good writer [The Write Page]
• Beat Sheets, step outlines, and structure analysis (for screenplays especially) [SCRNWRIT FAQ]
  

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STRUCTURES (THREE-ACT, ETC.)

• Three Act Structure [Alex Epstein]
• Four-act paradigm [Andrew Ferguson - from Screenwriters & Playwrights Home Page]
• The anatomy of a screenplay [David Siegel]
• The two-goal structure [David Siegel]
• The nine-act structure [David Siegel]
• Story Structure Gurus [WGA]
  (The good, the bad and the ugly about teaching writing)
• Plot Organization [Richard Michaels]
• End of an Act [SCRNWRIT FAQ]
• Story Paradigms, Campbell, Vogler, and mythological approach [SCRNWRIT FAQ]
• Map For A Screenplay [SCRNWRIT FAQ]
  

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STRUCTURE EDITING

• Structure Editing [Playwriting Seminars]
  

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SCENES IN GENERAL (including the basic elements of a scene)

• Scenes [Richard Michaels]
• Scene Actions [Richard Michaels]
• An Example Scene [Richard Michaels]
• Point of Attack [Richard Michaels]
• Crisis [Richard Michaels]
• Confrontation [Richard Michaels]
• Climax [Richard Michaels]
• Resolution [Richard Michaels]
• Summary [Richard Michaels]
• "It's Episodic" versus inevitability [Alex Epstein]
• Editing Your Scenes: when a scene begins and the length of the scene [Alex Epstein]
• Purpose of a Scene [D.G. Hembroff (FidoNet Writing FAQ)]
• Scenes - The basic unit of storytelling, and how to write scenes quickly. [Crawford Kilian]
• Curtain Lines for Acts & Scenes (plays especially) [Playwriting Seminars]
• - Curtain Lines from Recent Plays [Playwriting Seminars]
• formal scenes (plays especially) [Playwriting Seminars]
  

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SCENE TYPES

• Exposition Scenes [Richard Michaels]
• Introduction of Character (and "beat") (screenplays especially) [SCRNWRIT FAQ]
  (exposition versus action and dialogue)
• Transition Scenes [Richard Michaels]
• Opening Scenes [Richard Michaels]
• Protagonist Introduction [Richard Michaels]
• Antagonist Introduction [Richard Michaels]
• The Rubber Ducky (backstory) [Alex Epstein]
• The Pat the Dog Scene (character-likability scene) [Alex Epstein]
• Final Scenes [Richard Michaels]
• Point of Attack: The Beginning [Playwriting Seminars]
• - Point of Attack Examples [Playwriting Seminars]
• - - Teaser Point of Attack [Playwriting Seminars]
• - - - Teaser Point of Attack Examples [Playwriting Seminars]
• Inciting Incident [Playwriting Seminars]
• - Inciting Incident Techniques [Playwriting Seminars]
• - - Inciting Incidents from Recent Plays [Playwriting Seminars]
• Act II & Its Problems [Playwriting Seminars]
• Climax [Playwriting Seminars]
• - Obligatory Scene [Playwriting Seminars]
• - - Diagram of Obligatory Scene & Resolution [Playwriting Seminars]
• - - - Annotated Example: 'night, Mother [Playwriting Seminars]
• - - - - Example with Dialogue [Playwriting Seminars]
• - Resolution [Playwriting Seminars]
• - - Happy Endings [Playwriting Seminars]
• - - Open Endings [Playwriting Seminars]
  

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PLOT

• 37 Dramatic Situations [SCRNWRIT FAQ]
• Storyboards - Getting from vague ideas to a coherent plot is easier than you think: using "storyboards" for writing. [Crawford Kilian]
• What is Plot? [S. Andrew Swann]
• How does Plot develop? [S. Andrew Swann]
• Plot: Endings, plotting errors, and unplotted stories [Damon Knight]
  (includes Resolution, Revelation, Decision, Explanation, Solution, and Unplotted stories)
• A four step exercise in Plot development: [S. Andrew Swann]
• Inciting Event [Richard Michaels]
• Subplots [Richard Michaels]
Plot Arena [Richard Michaels]
Plot Twists [Richard Michaels]
Settings: Visual Subtext (plays especially) [Playwriting Seminars]
Plot-Story Climax [Richard Michaels]
Using the Tarot to plot stories [Wordsmith's Webbook]
Ten Points on Plotting [Crawford Kilian]
Understanding How To Create A Dramatic Plot [Bill Johnson]
(Insights on the relationship between a plot and a story.)
Using emotion as a tool for plotting (romance novels especially) [Wordsmith's Webbook]
Coincidence, Mystery and Surprise. [S. Andrew Swann]
The payoff and the appearance of inevitability. [S. Andrew Swann]
Making The Unbelievable Believable (romance especially) [Evelyn Rogers]
Plots: They Come in Pairs [Playwriting Seminars]
Suspense Plot (see also SUSPENSE) [Playwriting Seminars]
- Suspense Plot Techniques [Playwriting Seminars]
- - Clarifying Suspense Plots [Playwriting Seminars]
- - - Example with Dialogue [Playwriting Seminars]
- - - 'Red Herring' Suspense Plots [Playwriting Seminars]
- - Using Mundane Activity as Structure Substitute [Playwriting Seminars]
- 'Elevator' Plays: The Bisquick Plot [Playwriting Seminars]
Emotional Plot [Playwriting Seminars]
Emotional Patterns [Playwriting Seminars]
- Emotional Pattern Examples [Playwriting Seminars]


PREMISE AND GOALS
Techniques To Create a Story Premise [Bill Johnson]
("Many writers struggle with understanding the difference between what a story is and character goals. This essay offers a method to create a one sentence story premise that sets out a story's dramatic foundation.")
Primary Objectives [Richard Michaels]
Concrete Objects [Richard Michaels]
Abstract Values [Richard Michaels]
Subgoals [Richard Michaels]
Strategies [Richard Michaels]
Perceiving What's at Stake in Your Story [Bill Johnson]


THEMES AND VALUES
Themes and Values [Richard Michaels]
Themes (plays especially) [Playwriting Seminars]
- Examples of Contemporary Themes [Playwriting Seminars]
- - Authorial Spokespersons [Playwriting Seminars]
Human Values (plays especially) [Richard Michaels]
- Instrumental Values [Richard Michaels]
- Fundamental Values [Richard Michaels]
Theme, Value, and Story Construction (plays especially) [Richard Michaels]
What Is Theme And Why Is It Important? [Joan McCord]
The purpose and structure of the story [Ron Collins]
The Moral Question [SCRNWRIT FAQ]


SYMBOLISM
Symbolism - Why heroes prefer white hats. [Crawford Kilian]
(Includes: The Natural Cycle; The Natural Versus the Human World; The Hero's Quest: Mysterious or unusual birth; Symbolic Images; Symbolic Characters)


CONFLICTS/OBSTACLES
External Antagonist, Intimate Opponent and Tragic (or Comic) Flaw [Alex Epstein]
Conflict [Playwriting Seminars]
- Triangular Conflict Problems [Playwriting Seminars]
Obstacles [Richard Michaels]
Jeopardy [Richard Michaels]
- Self-Conflicts [Richard Michaels]
- Enemies [Richard Michaels]
- Relatives [Richard Michaels]
- Friends [Richard Michaels]
- Lovers [Richard Michaels]
- Physical Objects [Richard Michaels]
- Natural World [Richard Michaels]
- Supernatural World [Richard Michaels]
Character as Plot. [S. Andrew Swann]
Road Blocks To Love [SCRNWRIT FAQ]


SUSPENSE (see also PLOT)
How does Plot create Suspense? [S. Andrew Swann]
Excitement [Richard Michaels]
Surprise [Richard Michaels]
Suspense [Richard Michaels]
Setup and Payoff [Richard Michaels]
- The Chase [Richard Michaels]
- Timelocks [Richard Michaels]


POINT OF VIEW
A few ideas about "Viewpoint" [D.G. Hembroff (FidoNet Writing FAQ)]
Establishing the Point-of-View [Linda Seger]
- Point of View [Playwriting Seminars]


FORESHADOWING
Foreshadowing: What May Happen Later [Playwriting Seminars]


CHARACTERS
The "hero" in screenplays [Charles Deemer]
Never Make Your Characters Stupider Than You Are [Alex Epstein]
Random Thoughts on Fleshing Out Characters [Alex Epstein]
developing main character of a detective novel [Ann Lynes]
Character - Getting from 2-dimensional cardboard to 3-dimensional flesh and blood. [Crawford Kilian]
The X-Factor: Keys To Creating Believable Characters [Don Whittington]
Creating Dramatic Characters [Bill Johnson]
(practical steps on how to create dynamic characters)
Creating Memorable Characters [John Hewitt]
Building Characters -- A Worksheet [D.G. Hembroff (FidoNet Writing FAQ)]
- Protagonist [Richard Michaels]
- Antagonist [Richard Michaels]
- Love Interest [Richard Michaels]
- Audience Empathy [Richard Michaels]
- Motivation [Richard Michaels]
- Objectives [Richard Michaels]
- Decisions [Richard Michaels]
- Relationships [Richard Michaels]
- Codes of Behavior [Richard Michaels]
- Transformations [Richard Michaels]
- Idiosyncrasies [Richard Michaels]
- Crowds [Richard Michaels]
Characters: How Many (plays especially) [Playwriting Seminars]
- Animals as Characters [Playwriting Seminars]
- Kids as Characters [Playwriting Seminars]
Character Development (plays especially) [Playwriting Seminars]
- What's Modern in Modern Drama [Technically] [Playwriting Seminars]
Character chart (for developing characters) [The Eclectic Writer]
Character and Conflict Development: Picturing your characters and their conflict [The Write Page]
Tightening Character Relationships [SCRNWRIT FAQ]
Backstory [SCRNWRIT FAQ]
Stanley's Script Rules [SCRNWRIT FAQ]


NAMING YOUR CHARACTERS
What's In A Name (romance especially) [Kristina Wright]
Character Name Meanings (plays especially) [Playwriting Seminars]
Names from Recent Plays [Playwriting Seminars]
Character Names [Alex Epstein]
Naming characters (screenplays) [Cyber Film School]


PROTAGONISTS/VILLAINS
The joy of writing about sinners and femme fatales [WGA]
Love Thy Enemy [Alex Epstein]


CHARACTER EDITING
Character Editing [Playwriting Seminars]


LANGUAGE GENERALLY (including style, mechanics, punctuation, etc.) (see also EXPOSITION AND VOICE)
No Unnecessary Bad Language [Alex Epstein]
Language, Foul & Otherwise (plays especially) [Playwriting Seminars]
Clichés: The Great Ear Closers (plays especially) [Playwriting Seminars]
How to punctuate dialogue, and how to avoid common pitfalls. [Pat Robidoux]
Words commonly misused, and why you should not trust your spell-checker. [Pat Robidoux]
clarity and word selection [Pat Robidoux]
How not to offend in your writing [Pat Robidoux]
On prose style [Mark Hamstra]
Style - Writing well doesn't mean writing self-consciously. [Crawford Kilian]
general advice [Melisa Michaels]
Writing effective screenplay action sequences [Charles Deemer and Mike Snyder]
How is a Misplaced Comma Like a Leisure Suit? [Kevin McCarthy]
Sound and Sense [Kevin McCarthy]


DIALOGUE
Accent in Dialogue [SCRNWRIT FAQ]
Foreign language dialog. [Alex Epstein]
Dialogue [Richard Michaels]
Dialogue - Let your characters speak for themselves. [Crawford Kilian]
Writing Dialogue/a> [Brad Mirman]
Writing Dialogue [D.G. Hembroff (FidoNet Writing FAQ)]
On the Nose Dialogue [Alex Epstein]
Give Your Characters their Own Voice [Debra Dixon]


DIALOGUE EDITING
Dialogue Editing (plays especially) [Playwriting Seminars]
- Eugene O'Neill's Editing of A Monologue [Playwriting Seminars]
- False Monologues [Playwriting Seminars]
- - Putting False Monologues into Dialogue [Playwriting Seminars]
- Hidden Monologues [Playwriting Seminars]
- - Example of A Hidden Monologue [Playwriting Seminars]
- - - Monologue Pulled from Dialogue [Playwriting Seminars]
- Spoken Subtext [Playwriting Seminars]
- Transition Lines [Playwriting Seminars]
- Variant Lines [Playwriting Seminars]
- - Apparent Repetition [Playwriting Seminars]
- Writer-Talking-To-Write r Lines [Playwriting Seminars]
- Scene Openings: Warm-Up Lines [Playwriting Seminars]


MONOLOGUE
Monologues: They're Mini-plays (plays especially) [Playwriting Seminars]


SUBTEXT (WHAT CHARACTERS DON'T SAY)
Subtext for Characters [Playwriting Seminars]
- Facetious but Effective Example [Playwriting Seminars]
- - Scene with All Subtext Spoken [Playwriting Seminars]
- - - Spoken Subtext Marked for Editing [Playwriting Seminars]
- - - - Subtext Where It Belongs [Playwriting Seminars]
- Subtext in 'night, Mother [Playwriting Seminars]
- - Dramatic Irony [Playwriting Seminars]
- No-Subtext Plays [Playwriting Seminars]
- - Suspense Plots As Substitute [Playwriting Seminars]


EXPOSITION AND VOICE
Exposition [Richard Michaels]
Exposition: What's Happened Before [Playwriting Seminars]
- Using Narrators (plays especially) [Playwriting Seminars]
- - A Few Good Narrators [Playwriting Seminars]
Show or Tell? - Avoiding exposition--the novice writer's worst enemy. [Crawford Kilian]
Voice: Your Sound as a Playwright [Playwriting Seminars]
Voice - Who's telling this story anyway? [Crawford Kilian]
Addressing the Audience: Representation vs. Presentation [Playwriting Seminars]


TIME
Flashbacks [Alex Epstein]
Time (plays especially) [Playwriting Seminars]
- Continuous Time Examples [Playwriting Seminars]
- Flashbacks: Showing the Past [Playwriting Seminars]
- - Adding A Third Layer of Time [Playwriting Seminars]
- - - Hyper-Time: Blending Past and Present [Playwriting Seminars]
- - Time Advantages with Formal Scenes [Playwriting Seminars]


MONTAGES
Montages [Richard Michaels]


PROPS
Props [Richard Michaels]


TITLES
The theory and practice of titles: Creating titles [B.W. Clough]
Titles [Playwriting Seminars]
- Descriptive Titles [Playwriting Seminars]
- Metaphoric Titles [Playwriting Seminars]